Forty piano compositions

1905

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FORTY
PIANO COMPOSITIONS

FREDERIC CHOPIN

EEMTED BY
JAMES HUNEKER

OLIVER DITSON
COMPANY

FORTY PIANO COMPOSITIONS
BY FREDERIC CHOPIN

FORTY
PIANO COMPOSITIONS

FREDERIC CHOPIN

EDITED BY

JAMES HUNEKER

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OLIVER DITSON COMPANY

THEODORE PRESSER CO., Distributors, 1712 CHESTNUT ST., PHILADELPHIA

COPYRIGHT, 1903, BY OLIVER DITSON COMPANV

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CONTENTS

PRELUDE

in C. Op. 28, No. i

in G. Op. 28, No. 3

in E Minor. Op. 28, No. 4

in B Minor. Op. 28, No. 6

in Dk Op. 28, No. 15. (The Raindrop)

MAZURKA

in Bk Op. 7, No. 1

in B> Minor. Op. 24, No. 4

in Dk Op. 30, No. 3

in Gft Minor. Op. 33, No. 1

iu_C. Op. 33, No. 3

in B Minor. Op. 33, No. 4

in Ak Op. 50, No. 2

in A Minor, Op._68, N©r~2

STUDY

in Gk Op. io. No. 5. (The Black Keys)
in Ak Op. 25, No. 1. (The /Eolian Harp)
in Cft Minor. Op. 25, No. 7
in Gk Op. 25, No. 9. (The Butterfly)
in D>

NOCTURNE

in Eb. Op. 9, No. 2

in Fft. Op. 15, No. 2
in Dk Op. 27, No. 2
in B Major. Op. 32, No. 1
in G Minor. Op. 37, No. 1
in G. Op. 37, No. 2

WALTZ

in Ek Op. 18. {Grande Vahe Brillante) 75 .

in Ak Op. 34, No. 1. {Vahe Brillante) JU//
in A Minor. Op. 34, No. 2 92

in Ak Op. 42. {Grande Vahe) 97

in Dk Op. 64, No. 1 105

in Cft Minor. Op. 64, No. 2 109

in Ak Op. 64, No. 3 115

in E Minor. (Posthumous) 120

POLONAISE

in Cft Minor. Op. 26, No. 1 124

in A Major. Op. 40, No. 1. {Polonaise Militaire) 128 /'

IMPROMPTU I

in A? Major. Op. 29 133

FANTAISIE-IMPROMPTU

in Cft Minor. Op. 66. (Posthumous)

BALLADE III

in At* Major, Op. 47

SCHERZO II

in Bl? Minor. Op. 31 159

BERCEUSE

■'n Db Major. Op. 57 175

FUNERAL MARCH {Marche Funehre)
from the Sonata. Op. 35, No. 2 181

148

FREDERIC FRANCOIS CHOPIN
(1809-1849)

FREDERIC CHOPIN

FREDERIC Francois Chopin is the
greatest composer of music for the
pianoforte. All that had been said be-
fore him by the masters, Bach, Mozart,

or Beethoven, seems, after listening to Chopin,
as if w-itten in a language foreign to the in-
strument. When he speaks, it is the speech of
one for whom this combination of wood, wire,
iron and ivory is a human harp — a harp from
which the most exquisite, sombre, tragic poetry
is plucked. This Pole is rightfully named the
poet of the keyboard — a title that has been often
debased by claims of lesser men. He is first the
poet, then the musician; and his achievements
as musician are of such rare distinction as to give
him a niche in the Pantheon of illustrious com-
posers.

As was the case with his friend Franz Liszt,
Chopin's skill as a pianoforte virtuoso over-
shadowed his genuine merits as a composer dur-
ing his too short life. He was a wonderful pianist
and he played his own music. This bewildered
his contemporaries: the critics often failed to dis-
tinguish between his two gifts. If he played so
marvellously, it was argued, not without justice,
perhaps his music will not sound as beautiful
under other fingers. But it did, and this is one
of the tests of its universality; Liszt, Rubinstein,
Tausig, JosefFy, Pachmann, Paderewski, and
Rosenthal all played and play Chopin beauti-
fully, while sects of warring critics, wrangling
amateurs, cry "this is so," or "that is not so";
and yet no one may claim the unique Chopin
tradition for the very simple reason that no such
elusive quality exists. There is no Chopin tradi-
tion. There never was one, even when Chopin
lived, for he played his compositions no two days,
or ways, alike. This constitutes the evanescent,
mysterious, poetic charm of his music; its secret

has never been unriddled. And never will it be,
for his is great art and great art always plays the
role of the Sphinx to its eager votaries.

There is one right way to interpret Chopin.
Plastic, entirely dream-like in its loveliness, his
music yields only to the embrace of the poet.
It may be wooed but never taken by assault.
The poetry inherent in its structure, even in its
technical figuration, sets it apart, a consecrated
thing. To attack Chopin with burly fingers or
sledge-hammer wrists is to destroy the aroma of
his measures. As a poet he ranks with Shelley
in the tenuity of his musical textures, in the su-
preme loftiness of his lyric flights; and he is
twain with Keats in the richness of his harmonic
coloring, in the deep-hued humanity of his me-
lodic utterances. Therefore we think of him first
as a poet.

As a musician Chopin took up the threads of
that skein which antedates Mozart, Haydn, and
Philipp Emanuel Bach. He found piano music
given over to the empty formalism of Hummei
or to the brilliant and inutile passage work of
Kalkbrenner. By nature an aristocrat, the young
Pole did not disdain the graceful framework of
Hummel nor the elegant rhetoric of Kalkbrenner.
But he had something new to say; they had not.
He was a native of old Sarmatia and the patriot
in him was mightily stirred by his nation's songs
and nation's wrongs. He found near at hand sim-
ple dance forms and straightway, filled with elo-
quent music, idealized them ; yet they lost not
their native flavor, their wood-note wild. A sworn
classicist in his devotion to Bach and Mozart, he
is still the prince of the Romantics; a severe
formalist, though his forms were not those of
fugue or sonata, he nevertheless set beating the
pulse of Europe with his gay valses and spar-
kling mazurkas. At his cradle had stood the Angel

x FREDERIC CHOPIN

of Melancholy. No one ever heard Chopin laugh, men were foredoomed to unhappiness; both dis-
His smile, rare and charming, was like that of his dained mediocrity and therefore supped their fill
American brother-poet, Edgar Allan Poe. Both of misery.

II

Chopin was born in Zelazowa-Wola, six miles
from Warsaw, Poland, March i, 1809. He died
in Paris October 17, 1849. But in those brief
forty years, in the interval, as Walter Pater has
it, he lived an existence devoted to art, a lite that
literally burned away his frai! frame. By no means
the delicate, effeminate child of the sentimental
biographer, the little Frederic was never robust.
If petted much by his mother and sisters, he
managed to enjoy himself in a manlier way with
his boyish comrades, the pupil's of his father's
school. This father was a Frenchman, trans-
planted from Nancv, and probably of Polish ori-
gin. Frederic's mother, Justina Krzyzanowska,
was, it need hardly be added, a pure Pole. For
her the youthful pianist entertained a love that
was characteristic. She became the leading mo-
tive of his life; all his actions were governed if
not actually by her, at least in deference to her
wishes. One of the things he feared most after
he became a friend of the novelist, George Sand,
was his mother's criticism. This trait, intensified
later in life, was undoubtedly the reason for many
of his actions. As he reverenced his mother, so
he reverenced his mother's sex; and while his
private life was not conventional, he always for-
bore from certain associations. Temperamentally
the man had no taste for the things most prized
by the world. He never married; he never gath-
ered riches; and the honors heaped upon him as
a virtuoso, the fame that greeted him almost at
the tomb's portal, bore for him no message of
joy. He was a dreamer of dreams.

Precocious musically, and sensitive as Mozart,
Chopin early amused himself and his compan-
ions with his clever improvising. His father soon
decided that there was a real gift to develop and
engaged a Bohemian named Adalbert Zwyny to
teach his son the rudiments of art. This instruc-
tor was a violinist as well as pianist and Chopin

throve so well under his tutelage that he played
a piano concerto by Gyrowetz in 1 8 1 8 at a pub-
lic concert and was more preoccupied with his
new collar than with his success. "Everybody
was looking at my collar," he remarked naively
to his mother. The Polish aristocracy noted the
gifts of the little fellow, participated in his edu-
cation, and presently he began to study compo-
sition with Joseph Eisner, the chief influence for
good in his musical career. Eisner was old fash-
ioned but sound. He was a severe master and
rigid in his discipline. If he gave the bov his own
way in the matter of piano-playing, he never al-
lowed him to relax in his study of the classics.
Chopin many times referred with refreshing grat-
itude to his old master. And to him he owed
all the sanity and lucidity of his music; it would
have been an easy matter for the lad to have re-
mained a brilliant improviser and rhapsodist,
Eisner taught Chopin to cast his dreams into a
durable mould.

Chopin's youth was spent if not happily, cer-
tainly not unpleasantly. He was in fairly good
health, studied diligently without too great a
strain upon his nerves, and doted much on his
sisters. When at last he went to Vienna — he had
been once as far as Berlin — great was the house-
hold's sorrow. He bravely lived it down, petted
though he was, and actually tempt:d the fates
by appealing to the suffrages of an elect Viennese
audience August 11, 1829. On that occasion he
played his Variations, Opus 1, on "La ci darem
la mano" and several improvisations. His success
was an unqualified one, and it he had followed it
up it might have resulted in a permanent resi-
dence at Vienna. But after a second concert
Chopin returned to Warsaw.

He had seen the world, had tasted of the fruit
of knowledge, which in his case was not an evil
fruit. On his return he fell promptly in love with

FREDERIC CHOPIN

Constantia Gladowska, and who knows but his
want of decision in declaring his passion was the
cause of his second visit to Vienna ! Certainly he
became dispirited, and after two very nattering
concerts in Warsaw he went to Breslau, Dres-
den and Prague, arriving in Vienna during the
summer of 1 83 1 . Chopin had heard Rubini, the
tenor, Henriette Sontag, the soprano, and being
devoted to Italian singing, enjoyed as well as
profited by their art. Hummel set him wild with
enthusiasm and he must have envied Thalberg,
then the lion pianist, for he speaks slightingly of
him in his letters. Vienna was not so pleasant a
place as formerly, for his friends, fearing the revo-
lution, had gone to Germany and France. He
soon left for Stuttgart and hearing of the capture
of Warsaw by the Russians, September 8, 1 83 1 ,
wrote the Revolutionary Study in C minor, Opus
10, No. 12.

It was October, 1831, that Chopin first saw
Paris, his home until the day of his death and
the spot where now repose his remains. His ca-
reer there was an eventful one for him, yet out-
wardly not rich in adventure. As in Warsaw the
two determining fadlors of his life were his love
for his mother and Constantia Gladowska so in
Paris Chopin's nature expanded. He enjoyed
social as well as artistic triumphs and he met
George Sand. This was a happening of prime im-
portance for him. The celebrated novelist had
often boasted that she played the part of a step-
mother to men of genius; that without her aid
they might never have fully realized themselves.
Be this as it may, Chopin's attachment to the
fascinating woman became a part of his life. When
at last they became bad friends, he drooped, with-
ered, died. Sensitive he was to a morbid degree
and he really passed from the care of his mother
to that of George Sand. When she failed him, he
could live no longer.

Such was the strange being who enchanted his
hearers in the drawing-rooms of the French capi-
tal. A debut at the house of Baron Rothschild
decided his future. He became the "rage." Liszt
admired him, finally adored him; and while Ber-

lioz and Meyerbeer declared that he did not play
in time — that is metronomically — they could
not withhold their meed of praise. They simply
could not comprehend his use of tempo rubato
— a greatly misunderstood thing to-day. He was
a phenomenon. Heine swore that Chopin was
supernatural ; and his charming spirituelle physi-
ognomy and fairy-like playing certainly aided
the illusion. Thalberg complained that his per-
formances lacked weight, and this vvas no doubt
the truth. For modern ears, accustomed to the
heavy masses of orchestral tone that our virtuosi
extort from their instruments, Chopin's liquid
tones and gossamer flights would possibly seem
unsubstantial. But there was the poet in his work
There was revealed a soul of tenderness and also
the heroic soul. When he dashed into his fiery
Eroica Polonaise he suggested the "cannons
buried in flowers" as Schumann phrased it; when
he sang with faint irony one of his capriciously
perverse mazurkas his hearers divined that a new
art, an art hitherto undreamed of, vvas being re-
vealed. His was indeed a new art, with its em-
ployment of dispersed harmonies, novel use of
the pedal, and dangerous rhythmic freedom. And
this slender wonder-worker, the magician of all
those spells, was constrained from public appear-
ances because of his nervous timidity ! It was his
friend Liszt who fought in the musical arena and
strangled lions with superb effrontery. Chopin's
nature was too intimate — " the public suffocates
me," he confessed.

Yet it must not be imagined that with all this
delicacy of physique and temperament he was a
sentimental, hecftic dawdler. He labored over his
compositions, filing for hours, days, weeks, and
months at one piece. He gave many lessons, but
saved no money. A few visits to England, a trip to
the island of Majorca in the Mediterranean Sea
with the Sand family, where he nearly perished of
lung trouble,and his rupture with Madame Sand
— this about comprises the history of Chopin.
His life is writ large in his music. To it we must
go to understand the man.

FREDERIC CHOPIN

III

To make a viable selection from Chopin's music
is a perilous task; it is a question of a little taken
while great riches remain behind. Five Sonatas
fairly set before us the many-sided Beethoven,
vet a Ballade, Scherzo, Etude, Prelude, Valse,

dropping of rain through the dilapidated roof of
his ancient abode on the island evoked the rhyth-
mic foundation of this Prelude. The first Prelude
should be repeated. The one in G with the run-
ning bass figure is very pretty in sentiment. And

Sonata, Polonaise, Impromptu or Nocturne of it must not be forgotten by the student that there
Chopin will surely send us to the many other are twenty-two other Preludes, all as beautiful.

neglected ones of the same titles. Necessity is
cruel, so the editor of a collection is compelled to
sacrifice the more extended and difficult compo-
sitions, making his choice a representative rather
than a complete one. Chopin was so versatile, he
presented in so many disguises a single thought,
that he ends by bewildering. The present edition
is therefore an attempt to present the composer
in his most favorable light. And this statement
is not to be taken in an apologetic sense. For
example, if necessary, the Scherzo in B minor,
Opus 20, could havebeenincluded. But its relent-
less mocking spirit, its drastic irony may be found
within the more confined walls of the B minor
Mazurka. Nor is that overwhelming Polonaise
in F sharp minor here, for technically it is only
possible in the hands of a virtuoso. The editor
has found that the E flat minor Polonaise, Opus

The Nocturnes, chosen for their variety and
wealth of mood, give us Chopin on hissecretside.
He loved the twilight more than the dawn —
dreamers of his type do not rise early — and in
the six Nocturnes we may find nearly all he had
to sav in this fascinating form. The Nocturne
in F sharp is charged with feeling- yet it must
not be delivered sentimentally. The one in D flat
is very poetic, a companion piece for that in
G major with its clinging double notes, its at-
mosphere of languorous reverie. The Nocturne
in G minor is very popular. The second theme
is said to be the transcription of monks chanting
in some bare, ruined choir. The five Studies are
the more pleasing, the technical problems being
hidden by the graceful devices of the composer.
The first one in G flat is familiar in the concert
room and with its companion in the same key is

26, No. 2, contains in sufficient abundance the very brilliant and effective. The iEolian Harp

revolt, the fire and hatred of the later Polonaise. Study in A flat is another favorite ; but the one

The other two Polonaises, in C sharp minor and in D flat deserves to be heard more frequently.

A major, give a complete picture of Chopin's ca- It is a study in contrasted rhythms and legato and

pricious melancholy and his martial vigor: indeed staccato touches. Sprightly, graceful, charming,

the A major Polonaise, surnamed the Military, this dainty piece repays careful study.

is quite as heroic as the more celebrated one in
A flat major, the Drum Polonaise.

This collection opens with the Preludes. These
tiny, questioning tone-poems were composed by
Chopin — some of them, not all — while he lay
ailing at Majorca. The one in D flat is justly cele-
brated and it is called the Raindrop. Chopin, so
relates Madame Sand, saw in a waking dream her
and the two children drowned — she was absent
during the progress of a storm, tropical in its
severity — and it was the drip-drip of the rain
upon the faces of the dead that sent the too imagi-
native poet shivering to his piano. Probably the

Out of many Mazurkas eight arechosen. Inno
form has Chopin manifested his originality as in
these epigrammatic dances — they have been
called Dances of the Soul. Variety in mood and
tonality is duly considered. Thus opposed to the
saucy Mazurka in B flat, the sad hesitancy of
the one in B flat minor proves an admirable foil.
The A minor Mazurka has that morbid flavor
which betokens a soul weary of life ; but the two
in D flat and A flat are excellent antidotes. The
Funeral March needs no comment here. It still
remains mortuarv music without rival. Nor does
the Cradle Song, loveliest of its style, demand

FREDERIC CHOPIN

analysis. The two Impromptus are studiesincon-
trast ; the first all clarity , its outlines never blurred ;
the second is redolent of caprice and pessimism.
With the A flat Ballade we come upon the larger
forms of the master, a form specifically his own.
In it his dramatic despair, his defiance to fate, his
melting lyricism and his brilliant flights are felt.
This Ballade is wonderful. It requires well-trained
fingers and a bold heart to subdue it. The stu-
dent must give especial study to pedaling and
phrasing. "The pedal is the breath of the piano-
forte."

The Polonaises have been mentioned. The
Valses, too, demand no extended commentary.
They range the gamut of the Warsaw Chopin to
the Chopinof Paris. And they all dance. They are
a veritable Dance of the Nerves. The more cele-
brated are the two in A flat, Opus 42, and C sharp
minor, Opus 64, No. 2. The first and the last in
A minor, Opus 34, and E minor [posthumous]
exhale melancholy. But the one in D flat — named
the Valse of the Little Dog — and those in G flat
and Aflat are delightful in their swinging rhythms
andsubtleavoidanceof the banal accent. With the
famous Scherzo in B flatminor thevolumeiscom-
plete. This Byronic poem full of fire, fury, and

sweetness is the very epitome of Chopin's inner-
most nature. His was a haughty if shrinking sou!
and the hatred he felt for his country's oppressors
mingled with his own sense of impotence — these
opposing qualities gave birth to this magnificent
work. The original connotation of Scherzo is
jesting, but as Schumann justly asks: "How is
Gravity to clothe itself if Jest goes about in dark
veils?"

We may claim then that the forty numbers in
this volume are fairly representative of Chopin's
genius. Music such as the Barcarolle, the F minor
Fantaisie, the Krakowiak or the Allegro de Con-
cert is not for the amateur, so does not come within
the scope of these selections. Various editions
have been consulted for the fingering, phrasing,
dynamics, pedaling, tempt, etc. All that the stu-
dent requires for biographical or critical study of
Chopin may be found in the comprehensive biog-
raphy by Frederick Niecks, in Franz Liszt's bril-
liantmonograph, in the Letters edited by Moritz
Karosowski,in Henry T. Finck's"Chopin,"and
in the two small pamphlets entitled respectively :
" The Works of Frederic Chopin and their Proper
Interpretation," and" Chopin's Greater Works."
They are written by Jean Kleczynski of Warsaw.

?X>C4JLS

THE CHOPIN PLAYER

The sounds torture me: I see them in my brain;
They spin a flickering web of living threads,
Like butterflies upon the garden beds,
Nets of bright sound. I follow them : in vain.
I must not brush the least dust from their wings:
They die of a touch; but I must capture them,
Or they will turn to a caressing flame,
And lick my soul up with their flutterings.

The sounds torture me: I count them with my eyes,

I feel them like a thirst between my lips ;

Is it my body or my soul that cries

With little colored mouths of sound, and drips

In these bright drops that turn to butterflies

Dying delicately at my finger tips ?

ARTHUR SYMONS

Frederic Chopin is the proudest poetic spirit of
his time. robert Schumann

FORTY PIANO COMPOSITIONS
BY FREDERIC CHOPIN

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PRELUDE, in C

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VALSE, in A Flat

115

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POLONAISE, in C sharp Minor

(July 1836)

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POLONAISE MILITAIRE

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IMPROMPTU I

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